We continue our series of reports on the fascinating variety of world music instruments with an article by Jonathan Parker.

15th century bagpipe painting in Härkeberga Church

When we think of bagpipes, most of us envision the Scottish Great Highland warpipes played by brawny, kilted men with red moustaches, marching in echelon. Indeed, the Highland pipes are known the world over, due to the regiments of Scots sent throughout the British empire in the 19th and early 20th centuries. What few people recognize is that this instrument is only one of a very large family of musical instruments, played in dozens of countries. There are bagpipes from India, Persia, Bulgaria, North Africa, Russia, Italy, France, England, Ireland, Spain, Estonia, Poland, and Germany, to name a few. Many countries even have several; France has at least ten, and Scotland has no less than three distinctly different types. Altogether more than one hundred kinds of bagpipes exist, each with its own performance tradition and repertoire.

Today we’ll take a look at one of the farthest-flung of these, the Swedish säckpipa. As with many varieties of bagpipe, this humble instrument was played largely in the rural parts of the country. One early depiction of a bagpipe in Sweden is from around 1480, in a painting by Albertus Pictor in Härkeberga church in Uppland, although the form of the instrument he depicted suggests that its origin may be different from the surviving historical examples of the säckpipa. Also played for dancing, the säckpipa harmonizes well with the fiddle, but it was usually played as a solo instrument. It is mouth blown, having but one drone and a chanter with a compass of eight notes. Known in different parts of Sweden as dråmba, koppe, posu, or bälgpipa, its sound is quite sweet and about the same volume as a fiddle, making it an agreeable indoor instrument.

Säckpipa made by Leif Eriksson

Instrument makers constructed the pipes from birch wood, with a calfskin bag, and sparingly decorated it with hand-carved ornaments. The reeds were made from Phragmites australis, the common pond reed, harvested in the winter and chopped out of the ice. Some early examples also have a second “dummy” drone, which is not drilled and has no reed. The säckpipa seems to be most closely related to the Eastern European bagpipes of Bulgaria and Macedonia, with a cylindrical chanter bore and reeds of the single blade type. This should not be too surprising, considering that Scandinavians traded, battled, and marauded all the way down to Constantinople, in what is now Turkey.

The säckpipa has recently undergone a rebirth, having been taken up by many young musicians over the last few decades. The last piper, or pösuspelman, in an unbroken tradition was Gudmunds Nils Larsson of llbäcken in Dala-Järna, who died in 1949. Fiddler Per Gudmundson, at the urging of Gunnar Ternhag of the Dalarnas Museum in Falun, decided in 1981 to reconstruct the instrument and its musical repertoire. Woodworker Leif Eriksson was asked to help, and he and Gudmundson replicated the instrument based on examples found in museum collections. Together they worked out the details, and built a working set of pipes. Per went on to research the available written and recorded music, taught himself to play the instrument, and recorded an album in 1983 which has become a classic volume, Per Gudmundson: Säckpipa. This LP was rereleased in CD format in August 2015 on Caprice Records.

The author and his pipes

Since its revival in 1981, a number of other makers have begun building this instrument, and there are now hundreds of active players in many countries. For more information about this instrument and how it has developed since this revival, visit Olle Gällmo’s säckpipa website.

— Jonathan Parker is the World Music in the Schools program director for the Center for World Music, and has played the säckpipa since 1986. Illustrations are by Paul Johnson; Olle Gällmo provided the photo from Härkeberga church and other valuable support.

This article appeared in slightly different form in the September 1990 issue of the San Diego Folk Heritage journal Folk Notes.